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Kendrick Scott

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Drummer and composer Kendrick Scott presents Corridors , his first compositional treatment of trio context — saxophone, bass and drums — and third album for Blue Note Records. The anticipated follow-up to A Wall Becomes A Bridge, Scott’s much-lauded 2019 release with his band Oracle, Corridors unveils an exposed rumination from the Houston-born artist and his acclaimed collaborators: saxophonist Walter Smith III and bassist Reuben Rogers . “I often write about something that I’m going through,” says Scott, “but for this record I wanted to zoom out from my perspective and instead, try to deal with everyone’s. I had to make myself uncomfortable in an entirely new way.”

Originally commissioned by Rio Sakairi for The Jazz Gallery’s 2020 Artist Fellowship Series, Corridors features eight original compositions and one new arrangement of a beloved tune from the Bobby Hutcherson canon. Born during lockdown, the record focuses on posing outward questions instead of inward contemplation. “I was thinking to myself, ‘How has life changed for everyone?’” says Scott, who began the writing process with a deceptively benign inquiry: What are people doing inside their homes? “From that question, the theme of corridors came to me,” he says, noting that the metaphor was in part inspired by a long corridor in his New York City apartment. “When you think of corridors, it really implies movement, going from one place to the next. But yet now everyone is stagnated inside them.”

Recorded and mixed by James Farber, the album spotlights a different aspect of Scott’s dynamic expression. Where A Wall Becomes A Bridge centers around a provocation, Corridors reflects a shared intimacy. Another conceptual question emerged around loss: “What was taken away from everybody? What did you lose?” For Scott, who serves as album producer, this question became the impetus for assembling the album’s instrumentation. To create a truly empathetic musical gesture, he chose to abandon what he loves most: “In my band Oracle, it’s pretty much built around the guitar and the piano. I thought what I could do in aural form is take away those two instruments.”

From that intrinsically transitory point of origin — and the discomfort of loss — Scott allowed the music to develop, on the page and inside the studio. Over the course of the album, he and his fellow artists transform tension building into a nuanced art form. Summoning waves of harmonic dimension from the drum kit, he shifts between creating atmospheric spaces for Smith and Rogers to explore and plunging into those spaces himself. “One of my strengths is creating a harmonic space for groups,” says Scott, “And the trio afforded me even more  space so I too could be freer to interpret all the layers. Reuben navigates the world in such a genuine and loving way and his playing is a reflection of that. He’s the glue element — grounding and uplifting. And Walter has this sound that’s always been so beautiful and inspiring to me. Of my peers, Walter’s always been a guiding light in helping me get my stuff together.”

The ways Smith and Rogers interact with Scott’s long arcs of development become thematic on Corridors . Those interactions are what shape the story. “I learned a lot from Terence Blanchard,” says Scott, who credits the master bandleader and composer with teaching him to think about music cinematically, by posing questions to himself: “How have we progressed the idea we explored two songs ago? How have we progressed the idea we explored two moments ago?”

“ What Day Is It? ” immediately gets at the heart of collective struggling during lockdown. Taking the listener in different directions, sometimes all at once, the opening track zigs through superimpositions and melodic inversions, transitioning between playful and urgent at a moment’s notice. The album’s title track “ Corridors ” features a simmering melodic gesture from Rogers that lingers throughout the entire tune. Scott leads the trio through layering waves of tension. Titled for a Rumi poem of the same name, “ A Voice Through the Door ” offers a window into Smith’s melodic consciousness and creative subtlety; at certain points, he moves from solo improviser to foundational accompanist. He and Rogers flex an artful multiplicity on their respective feature interludes: “ One Door Closes ” and “ Another Opens .” All three artists stretch out on Hutcherson’s “ Isn’t This My Sound Around Me? ” collectively showcasing their staggering level of receptivity.

Equal parts somber and tender, “ One Door Closes, Another Opens ” pays tribute to loved ones lost and loved ones born during the pandemic. On this composition as well as on “A Voice Through the Door,” Scott incorporates his own vocal down in the mix. “I love to sing on my record but it’ll never be in the forefront,” he says. “I’m always singing, so it’s just a little window into how I hear music.” Vitality abounds on “ Your Destiny Awaits .” Creating closed circuits of pulsing currents, the trio pass along an energy that peaks as Scott’s improvising takes the lead. Extending the urgency of these questions beyond the recording itself, Corridors closes on a frenetic “ Threshold ,” featuring Scott’s solo up front.

For Scott, Corridors is a reflection of the mingling confusions and clarities that bubbled up on a global scale during the pandemic. “I had to sit and interrogate myself. Maybe my life of travel and music was me running away from the shadows that exist in my corridors here at home. I was never home, and now there’s no gig to play, there’s no place to run off to. The corridor is the Loopback to my inner world and also others as well.”

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About Kendrick Scott

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ABOUT THE ARTIST

Kendrick Scott was born and raised in Houston. The first encounters Kendrick had with the drums were in church, where his parents, Kenneth and Stepheny, and older brother were involved in the music ministry. Scott was later accepted to Houston’s famed High School for the Performing and Visual Arts (HSPVA) where his high school career culminated in many awards – the most notable being The Clifford Brown/Stan Getz Fellowship, given by the International Association for Jazz Education (IAJE) and The National Foundation for the Advancement of the Arts. Upon graduation from high school in 1998, Kendrick was awarded a scholarship to attend the famed Berklee College of Music in Boston, MA, majoring in Music Education. Since graduating from Berklee in 2002,[1] Scott has performed with a variety of name artists including the Jazz Crusaders, guitarist Pat Metheny, saxophonists Joe Lovano and Kenny Garrett, vocalists Dianne Reeves, Lizz Wright, Gretchen Parlato and trumpeter Terence Blanchard, to name a few. He also was a member of the Berklee-Monterey Quartet, performing at the legendary Monterey Jazz Festival in 1999-2000, 2002 and 2007.

Scott’s debut recording with his group Oracle recorded The Source in 2006, including pianists Aaron Parks and Robert Glasper, guitarist Lionel Loueke, vocalist Gretchen Parlato, and others. Scott also performed with the Terence Blanchard Quintet on the album A Tale of God’s Will (A Requiem for Katrina) (2007), which was nominated for two Grammy Awards for 2008. Kendrick was a member of the band that accompanied Terence Blanchard to the Monterey Jazz Festival’s 50th anniversary in 2007, and Scott embarked on the 22-state tour, starting in January, 2008 with the 50th Anniversary MJF All-Star Band. It featured the leaders of the past, present and future with Terence Blanchard on trumpet, James Moody on saxophone, Benny Green on piano, Derrick Hodge on bass, and jazz vocalist Nnenna Freelon.

Scott also currently plays with the Charles Lloyd Quartet, featuring alongside Reuben Rogers on bass, and Gerald Clayton on piano.

Kendrick Scott | Unearthed

Event details

• Friday | May 12, 2023 | 8:00 pm
• Cullen Theater, Wortham Theater Center
• 501 Texas Ave. Houston TX 77002
• 713-524-5050 | [email protected]

“I read about the unearthing of these slaves who were convict leased and experienced a visceral explosion of emotions. As an African American, it is my responsibility to leverage my gifts to tell the stories of our history, heritage and legacy.”

— kendrick scott.

DACAMERA Production | World Premiere

Kendrick Scott, composer/drums; Deborah D.E.E.P. Mouton, poet, Poet Laureate Emeritus of Houston; Robert Hodge, visual artist; Erin Earle Fleming, lighting design

Gerald Clayton, piano; Walter Smith III, saxophone; Joe Sanders, bass; Harlem Quartet (Ilmar Gavilán, violin; Melissa White, violin; Jaime Amador, viola; Felix Umansky, cello)

A new DACAMERA production memorializing the Sugar Land 95, bringing together original music, poetry and visuals Unearthed pays tribute to the tragic history behind the recent discovery of the remains of 95 Black people in unmarked graves in Sugar Land, Texas. They were convict laborers, swept back into “slavery by another name” in the post-Civil War era, arrested for petty crimes like vagrancy and forced into back-breaking and often fatal labor in the sugar fields of Texas. Now, Houston native jazz artist Kendrick Scott explores this untold story in a new production, teaming up with outstanding Houston-based creative team including the former Houston poet laureate Deborah D.E.E.P. Mouton and performed by the acclaimed Harlem String Quartet and a trio of first-call jazz musicians.

“I read about the unearthing of these slaves who were convict leased and experienced a visceral explosion of emotions. As an African American, it is my responsibility to leverage my gifts to tell the stories of our history, heritage and legacy.” – Kendrick Scott

“pulling together many lovely strands of American music…complex and compelling.” – Pop Matters on Kendrick Scott’s recording A Wall Becomes a Bridge

“Scott’s compositional skill is impressive as is the trio interplay.” — Glide Magazine on Kendrick Scott’s most recent recording Corridors

DACAMERA Production | World Premiere from DACAMERA on Vimeo .

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Kendrick Scott Talks Blue Note Records, Lessons from Legends Ahead of Anniversary Gigs

Music In Minnesota Interview

Photo by Kathleen Ambre

A lot has changed over 85 years; technology evolves, society changes in a million ways, and generations come and go. As a reflection of our culture, the music industry is not immune to this. It’s possible the world of music is more turbulent than most, with trends, movements, and institutions constantly shifting at a rapid pace. For better or worse, change is the name of the game. 

Because of this, it’s impressive when an artist or institution has real longevity, and that’s how Blue Note Records stands out. Created 85 years ago this month, Blue Note has served as the Jazz label, reliability releasing works both era-defining and on the cutting edge. From Miles and Coltrane to Herbie and Wayne, even a brief walk through the Blue Note catalog can help one trace most significant developments and milestones in the history of jazz.

In recent years, Blue Note has stayed true to form, releasing high-level work by established legends and young stars alike. On Saturday night, five of jazz’s brightest young stars will come together for two shows at the Dakota to celebrate the label’s 85th anniversary. The quintet, appropriately dubbed “The Blue Note Quintet,” features Matt Brewer (Bass), Joel Ross (Vibraphone), Gerald Clayton (Piano), Immanuel Wilkins (Sax), and Kendrick Scott (Drums). 

Fans of the label will likely be familiar with the work of these stars, and many of them have been through Minnesota before with various projects (Clayton and Scott played a marvelous run with Charles Lloyd at the Dakota last year). But the fact that this quintet has never played or together before this tour makes it all the more unique and exciting. With five innovative masters of their craft, the quintet promises to honor the storied label in sound and spirit. 

At the center of it all will be Scott on drums. A true heavyweight in the drum world, Scott has played with many legends, from his recent runs with the aforementioned Lloyd to tours with Herbie Hancock and work with Wayne Shorter. He’s had myriad gigs as a bandleader, key collaborator, and composer. Through it all, he’s been an exceptionally versatile and tasteful drummer with a knack for honoring jazz tradition while moving the music forward. Saturday night’s show is a can’t-miss experience for both new and old fans of jazz.

Music in Minnesota: On this tour, you guys are celebrating the eighty-fifth anniversary of Blue Note. Can you speak to, from your vantage point, the historical significance of the label and the anniversary?

Kendrick Scott: When you think about eighty-five years of Blue Note, you think about 85 years of the vanguard. For me, I think about the relationship of the musicians to the label. I feel that the founders of Blue Note were people who were living the music and being around the music, and they got this cadre of musicians together, in which it all sprung out of, from just being around the music and hanging out. For me, the beauty of it is you can see how one musician will come on board, and they would come and then they would create these other records around that musician. How many times have you seen Freddie Hubbard on there? How many times have you seen Hank Mobley on Art Blakey sessions or his own sessions?

I feel like for me, watching Art Blakey is like one of my entries into Blue Note, and when I check out Art Blakey’s Jazz Messengers, I learned about so many other musicians. And I feel like if you were to cut everything off and say to some young person, “Do you want to learn about jazz? Just go to Blue Note” (laughs).

You can go down the Blue Note catalog, go down all of those records, you can see the whole expanse from the beginning and the progression of the music throughout Blue Note. Eighty-five years, you know, it’s very close to one hundred. I think it’s just an important label, and it was seriously important for me because like I said, I went to those couple sources and found out so much more info and so much more that made me curious.

MIM: Were there any specific Blue Note artists that were particularly influential to your development as a musician and artist?

KS:   We just lost one; Wayne Shorter was of particular importance for me. There aren’t many musicians whose compositions are on par with their playing, so when we talk about “GOATs,” Wayne was a GOAT Saxophone Player and a GOAT Composer. That doesn’t happen a lot. Wayne Shorter, Herbie Hancock, and so many others. Freddie Hubbard, Art Blakey, I could just name everybody (laughs), so many of them have touched me in a certain way. For me, when I’ve thought of Blue Note, like I was saying before, I think of Art Blakey. But “Infant Eyes,” that’s my favorite song.

MIM: All of those guys, you can really trace the history of the music through the label. There are so many GOATS, it’s astounding. There isn’t much like it in music.

KS: Everybody! The list is just so limitless, you just have to think, why were these people drawn to this label? And then you have to think about, Blue Note is not only the place where people gathered to create, but Blue Note is also a sound . When you say that in your mind, you say the “Blue Note Sound,” you think Rudy Van Gelder. Not so many record labels have a sound. I feel like Manfred is that way with ECM. I feel like Blue Note definitely influenced that.

MIM: I want to zoom forward to this tour. you guys are five of the finest musicians in the world. I know some of you have played together in different contexts, including you and Gerald in Charles Lloyd’s Quartet. This will be most listener’s first exposure to this particular quintet. What can we expect from this group as listeners and fans?

KS: It’s funny, because I happen to be the oldest member of the group now, but I remember being the youngest. We did another Blue Note all-stars group with Robert Glasper, Derrick Hodge, Marcus Strickland, Ambrose Akinmusire, and Lionel Loueke. We recorded with Herbie Hancock and Wayne Shorter. What we learned from that recording and being around those masters is to be sure you’re giving your heart every time. We want to carry that spirit into this group as well.

I’m the only one that’s in both groups, but we want to carry spirit that with us. We’re going to be taking vignettes from some older Blue Note pieces and including them with our original works, paying homage to those masters that have come before us, and using their works as starting points for whatever our perspectives are today. This group is very special because we’ve never actually played together like this before. It’ll all be a discovery, and the beautiful part: it will be an honest discovery because everybody in the band is great at being present.

MIM: You’ve played with a lot of different arrangements and bands. What’s the most rewarding part of playing with a new group of musicians like this?

KS: I think one of the most beautiful things you can do for any human being is to listen to them. To listen to understand and not just reply. When you’re around people who are open, it gives a certain amount of trust that you can be yourself and try different things. I think that’s the thing I seek most when I’m playing with everybody. What I’ve noticed is from the most storied famous musicians to the newest musicians that I’ve played with, whenever that trust is present, the music will take flight. I feel like that’s what I’ve learned from playing with the masters, and that’s what I bring to playing with everybody.

MIM: You mentioned recording with Herbie Hancock, and I know you toured with him as well. What did you take from that experience?

KS: The story I always tell about Herbie was that the first day of the tour was at the Vienna opera house. We played, and in the beginning song, I think I made a mistake, and it was bothering me. After the set, I went up to Herbie and said, “Man, I am so sorry about that first song, that was really terrible of me,” and he said, “Wait, you thought about that for two and a half hours?” And I said, “Wow,” and it messed me up! He reminded me that the mental space that it took for me to be thinking about that mistake, I could’ve used that as an opportunity.

That’s a story that he tells about playing with Miles, he played a “wrong” chord, and then Miles played a note that made his chord sound right. To me, that epitomizes his whole thought process. Throughout that tour, I started to go and chant with him; he chants before every show. When you chant with him, you start to understand how he’s vibrating in his life. This lifeforce that he has and that he brings to the music, you understand it because you’re vibrating with him as you walk on to the stage.

For me, seeing how he’s always curious, he’s a child in mind (laughs). He’s always curious, always searching for things to learn about, things to grow. That was a most beautiful time for me because I was like, “Oh, you’re Herbie Hancock, you’re settled, you can just go and play and have fun,” and he was on the bus listening to people’s CDs that had been handed to him, he’s up at night researching the latest camera, the latest phone, the latest technology. That ever-present curiosity that just never stops.

MIM: I think that’s reflected in his music, for decades, just pushing forward and forward. I think that’s something Blue Note fosters, and I think Herbie epitomizes that in a way .

KS: And Blue Note was a part of capturing all of those moments. I always wanted to be a fly on the wall in those rehearsals. Blue Note had rehearsals before they recorded. You’ve gotta think, most of our most famous records were sessions of just a few hours. Some of those weren’t actually bands. Some of those combinations when you think of “all-star groups” getting together, it doesn’t really work. On Blue Note, it worked.

MIM: What are some lessons you learned, musically or otherwise, from playing With Charles? He seems like such an interesting, almost Zen character.

KS: Absolutely. We were playing once, and he turned around when he wasn’t that happy with me and said, “EMIT! EMIT! EMIT! Man, Come on!” and I said, “Wow, EMIT?” I had no idea what it was. I didn’t go up to him right afterward, I kind of had to sit with it for a while. Then, the next day, as we were getting on the plane, he said, “You’ve gotta give me more EMIT, man!” I said, “What’s that?” and he said, “You gotta EMIT; what’s EMIT backwards?” I said, “Time, ohhhh” and then what is to emit? Sound! More sound, more time! My mind was blown! He has so many beautiful codes like that to get you to think about the music in deeper ways and think about what you’re giving to the music at all different points in time.

You can see that every time he puts the horn in his mouth, he’s giving that. He’s trying to go deeper and deeper in the music. Sometimes he pulls out his horn at soundcheck and says “I still love it, there’s nothing like it.” To think that he still has that love and passion for the music; that translates to me, Gerald, Reuben, and all of us that have the pleasure of playing with him. He’s leading by example with his love for music. That Zen-like thing that you feel is the same thing we feel being on the stage with him. He uplifts us into that mindset as we’re playing. When I think about playing, I think about “EMIT!!” (laughs) …sound and time.

by Aaron Williams READ MORE FROM MUSIC IN MINNESOTA >>

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The Blue Note 85th Anniversary Celebration Tour

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• Jazz Series

SATURDAY, FEBRUARY 10, 2024 · 7:30 PM

BLUE NOTE RECORDS 85TH ANNIVERSARY TOUR

Starring the blue note quintet.

GERALD CLAYTON , piano JOEL ROSS , vibraphone IMMANUEL WILKINS , alto sax KENDRICK SCOTT , drums MATT BREWER , bass

THE BAKER-BAUM CONCERT HALL Prelude Interview hosted by Robert John Hughes · 6:30 PM

Blue Note Records is celebrating its 85th Anniversary with a US tour starring The Blue Note Quintet, a group brought together to honor the label’s rich history and pave the way for the eclectic artists of today’s roster. Six-time GRAMMY Award nominee Gerald Clayton leads the band as musical director and pianist. “Gerald Clayton is one of the most accomplished, distinctive and innovative pianists performing today” says Don Was, the label’s President since 2012. Rounding out the group is vibraphonist Joel Ross, saxophonist Immanuel Wilkins, drummer Kendrick Scott, and bassist Matt Brewer.

Gerald Clayton earned recent Recording Academy recognition for Happening: Live at the Village Vanguard , his debut release on Blue Note Records. Collaborating over the years with such distinctive artists as Diana Krall, Roy Hargrove, Dianne Reeves, Terence Blanchard, John Scofield, Terri Lyne Carrington, Peter Bernstein, Ambrose Akinmusire, Gretchen Parlato, Ben Wendel, the Clayton Brothers Quintet, and legendary band leader Charles Lloyd, Clayton currently serves as director of the Next Generation Jazz Orchestra, following service as musical director for the Monterey Jazz Festival On Tour. Under the instruction of Billy Childs, Clayton earned a Bachelor of Arts in Piano Performance at USC’s Thornton School of Music following a year of intensive study with Kenny Barron at The Manhattan School of Music.

Joel Ross continues refining an expression that’s true to his sound and his generation. In 2019, the vibraphonist-composer issued his anticipated Blue Note debut, the Edison Award-winning record KingMaker, to  critical acclaim, followed by his 2020 release Who Are You? which features his band Good Vibes at their most synchronous. New York Times critic Giovanni Russonello praised the album for the ways it “speaks to a new level of group cohesion…more tangle, more sharing, more possibility.” The Parable of the Poet , Ross’ third release for Blue Note Records, explores feelings of self-awareness—confidence, doubt, regret and forgiveness—through storytellings and retellings.

The music of saxophonist and composer Immanuel Wilkins is filled with empathy and conviction, bonding arcs of melody and lamentation to pluming gestures of space and breath. Listeners were introduced to this riveting sound with his acclaimed debut album Omega , which was named the #1 Jazz Album of 2020 by The New York Times . The album also introduced his remarkable quartet with Micah Thomas on piano, Daryl Johns on bass, and Kweku Sumbry on drums, a tight-knit unit that Wilkins features once again on his stunning sophomore album The 7th Hand, which explores relationships between presence and nothingness across an hour-long suite comprised of seven movements.”

Kendrick Scott was born in Houston, Texas, and grew up in a family of musicians. By age 8 he had taken up the drums and later attended Houston’s renowned High School for the Performing and Visual Arts, a school which has produced an impressive array of musical talent including Scott’s label-mates Jason Moran and Robert Glasper, as well pop star Beyoncé and many others. While still attending HSPVA, Scott won several DownBeat Magazine student awards, as well as the Clifford Brown/Stan Getz Award from the International Association of Jazz Educators. He was later awarded a scholarship to attend Berklee College of Music, where he majored in music education. Scott has toured with Herbie Hancock, Charles Lloyd, The Crusaders, Kurt Rosenwinkel, Kurt Elling, and Terence Blanchard, also appearing on several of the trumpeter’s Blue Note albums including Flow (2005), A Tale Of God’s Will (2007), and Magnetic (2013).

Matt Brewer was born in Oklahoma City and grew up in Albuquerque, New Mexico, surrounded by a family of musicians and artists. At the age of 10, Matt fell in love with the bass and began a lifelong study of music. He graduated from the Interlochen Arts Academy, and then went on to study at the Juilliard School. He’s travelled the world playing in the bands of Gonzalo Rubalcaba, Greg Osby, Steve Coleman, Dave Binney, Gerald Clayton, Ben Wendel, Aaron Parks, Vijay Iyer, Dhafer Youssef, Antonio Sanchez, Mark Turner, Steve Lehman, Ben Monder, and Lage Lund, among many others). He has been a frequent guest lecturer at the Banff Center, and is an adjunct faculty member at the New School University.

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Kendrick Lamar Announces ‘The Damn. Tour’

By Daniel Kreps

Daniel Kreps

UPDATE: Kendrick Lamar has added 15 dates to his Damn. tour. See the full dates below.

Following a pair of Coachella gigs where Kendrick Lamar debuted Damn .  songs live, the rapper will bring his new album on the road this summer.

The Damn. Tour spans 17 dates, kicking off July 12 th in Phoenix, Arizona and concluding August 6 th with a hometown gig at Los Angeles’ Staples Center. For the trek, Lamar will bring along his “Goosebumps” cohort Travis Scott along with “Broccoli” rapper D.R.A.M.

Tickets for the Damn! tour go on sale to the general public on Friday, April 28 th  at Ticketmaster, with an American Express pre-sale starting Tuesday, April 25 th .

The Damn! tour marks Lamar’s first trek since his set of intimate Kunta’s Groove Sessions dates in the fall of 2015.

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Kendrick Lamar – The Damn. Tour (New dates bolded)

July 12 – Phoenix, AZ @ Gila River Arena July 14 – Dallas, TX @ American Airlines Center July 15 – Houston, TX @ Toyota Center July 17 – Duluth, GA @ Infinite Energy Arena July 19 – Philadelphia, PA @ Wells Fargo Center July 20 – Brooklyn, NY @ Barclays Center July 21 – Washington, DC @ Verizon Center July 22 – Boston, MA @ TD Garden July 23 – Brooklyn, NY @ Barclays Center July 25 – Toronto, ON @ Air Canada Centre July 26 – Auburn Hills, MI @ The Palace of Auburn Hills July 27 – Chicago, IL @ United Center July 29 – Denver, CO @ Pepsi Center August 1 – Seattle, WA @ Tacoma Dome August 2 – Vancouver, BC @ Rogers Arena August 4 – Oakland, CA @ Oracle Arena August 5 – Las Vegas, NV @ T-Mobile Arena August 6 – Los Angeles, CA @ STAPLES Center August 8 – Los Angeles, CA @ STAPLES Center August 9 – Los Angeles, CA @ STAPLES Center August 11 – Anaheim, CA @ Honda Center August 12 – San Jose, CA @ SAP Center August 13 – Sacramento, CA @ Golden 1 Center August 16 – Kansas City, MO @ Sprint Center August 18 – Lincoln, NE @ Pinnacle Bank Arena August 19 – St. Paul, MN @ Xcel Energy Center August 20 – Chicago, IL @ United Center August 22 – Columbus, OH @ Schottenstein Center August 23 – Toronto, ON @ Air Canada Centre August 24 – Montreal, QC @ Bell Centre August 25 – Newark, NJ @ Prudential Center August 29 – Charlotte, NC @ Spectrum Center August 30 – Nashville, TN @ Bridgestone Arena September 1 – Tampa, FL @ Amalie Arena September 2 – Miami, FL @ American Airlines Arena

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Kendrick Lamar Masters The Art Of The Arena Rap Concert For His ‘DAMN’ Tour

The first time I saw Kendrick Lamar live was nearly four years ago at Key Arena in Seattle when he was opening for Kanye West during the Yeezus tour . I thought about that show a lot during his headlining performance at the United Center on Thursday night. Kendrick was certainly an enigmatic presence back then, but he wasn’t the most galvanizing performer in the world. Throughout his 45 minutes onstage, he gamely ran through some of the best material from his first two albums, Good Kid, M.A.A.D. City and Section 80 , but the hood of his sweatshirt remained on his head the entire time. The flows were immaculate, but the engagement with the crowd was lacking. I came away pleased, but not bowled over.

The contrast between him and Kanye couldn’t have been starker. Ye showed up with his face obscured as well; by a jeweled, custom-designed Margiela mask. He had dancers in nude body suits, a giant tilted screen, fake snow, a Yeti-type creature with glowing red eyes, a giant 40-foot tall ice volcano, oh yeah, and an actor portraying Jesus Christ. He also had himself. For two-hours and more, Kanye’s intensity never flagged as he ripped into every single cut from his new album as well as older favorites. It remains one of the greatest pure performances I’ve ever seen.

Kendrick surely must’ve taken notes from Yeezy’s presentation during their weeks on the road together, because so many of those same elements — the theatrics, the intensity, the engagement, the props, the ornate set-pieces, the extras, the vignettes — that knocked me out that night in Seattle were on full display at this show in Chicago. In the past four years, while releasing two incredible masterpieces, To Pimp A Butterfly and DAMN , and marking his claim on the title, “greatest rapper alive,” Kendrick has also apparently also mastered the incredibly difficult art of the arena rap concert.

Kung Fu Kenny has arrived #DamnTour pic.twitter.com/ny8RFKrI7Y — Corbin Reiff (@CorbinReiff) July 28, 2017

A massive, black curtain flew into the rafters promptly at 9:30 PM, revealing a large video screen. The large blank void quickly came to life, displaying a trippy, psychedelic video montage that followed Kendrick through some kind of old school, ’70s martial arts training program. The film ran its course, and everything went dark, until a deafening blast of pyro. Smoke filled the arena. People screamed their heads off and the man of the hour appeared out of the clouds in a yellow track suit. He knelt down, letting the mania wash over him, until the familiar voice of a Fox News anchor heralded the beginning of “DNA.”

In those first few moments it became stunningly clear that this was a completely different performer than the one I’d seen all those years back. There was an incredible amount of passion in the way he rapped, the way he ran across the stage, and the way he connected with the crowd. It wasn’t that he merely kept people’s attentions — as the headliner of any show, that’s pretty easy to do — it’s that he inspired awe. Seeing it up close thanks to the amazing access that only American Express can provide only made the thrills even bigger.

The theatrical elements were fantastic. As soon as those Nike Cortez’s touched the stage, the man we know and love as Kendrick Lamar was left behind. What we’re presented instead is this new figure, Kung Fu Kenny, a swaggering, exuberant presence, extremely eager to leave an impression. “This is the most livest mother*cking experience you’ll ever f*cking experience Chicago,” he loudly warned. “Please be prepared.”

I tried, but little could prepare me for the glowing LED cage he climbed into to perform “Lust,” or the way he rapped an entire song while hanging horizontally over another dancer clad in red, or the multiple ninjas who performed fight routines at intermittent points of the show. I also couldn’t prepare myself to hear his incredible catalog of music blasted at my face at 100 decibels and more, but then he’d bust out “Alright,” “America,” “XXX,” Swimming Pools,” “M.A.A.D. City,” “Money Trees,” “Loyalty” or “B*tch Don’t Kill My Vibe” and my jaw would practically hit the floor.

As Kendrick’s opener, Travis Scott showed that he took a few queues from his mentor Kanye West as well. Though Thursday night was the first time I’d seen Trav on stage as a performer, I had run into him last year during the first show of Yeezy’s Saint Pablo tour in Indianapolis. That was yet another galvanizing experience, watching Kanye fly through the air on a floating stage, going H.A.M. while observing the mass of faces wild out below him just out of reach.

I think it’s safe to say that it made as big an impression on Travis as it did on me, because only three songs into his set, the B irds In The Trap Sign McKnight rapper, boarded a massive mechanical eagle and took off on high, rapping over hits like “Butterfly Effect,” “3500,” and of course “Goosebumps” which he ran back a couple of times. A spotlight gripped in the bird’s talons scanned the crowd, illuminating individual members of a 20,000 person strong collective all losing their minds as one. Everything you’ve heard about Travis’s skills as a live performer are entirely true and then some .

This man @trvisXX is on a flying Eagle right now pic.twitter.com/mKlNREKLue — Corbin Reiff (@CorbinReiff) July 28, 2017

The biggest pop of the night came in the final thirty minutes. While catching his breath, Kendrick paused to big-up Chicago, a city he referred to as, “My second home.” Then, just after those words left his lips, who should ascend from under the stage but the city’s current, favorite son, Chance The Rapper . Together, the two stars raced back and forth across the stage bringing to life Chance’s anthemic Coloring Book single “No Problems.” It was an entirely rhapsodic pause from the regularly scheduled programming. Everyone in the United Center was beaming, but none so much as K Dot himself, who admonished us all that “Forever you must protect Chance,” ( we agree, for what it’s worth ) after the song ended and Chano had left the stage.

. @chancetherapper x @kendricklamar "No Problems" #DamnTour pic.twitter.com/H2ekqy4VPK — Corbin Reiff (@CorbinReiff) July 28, 2017

To close the show Kenny busted out the big single from his latest album, the song “Humble.” He performed half of the first verse, then gave the rest of the song over to the thousands of people splayed out in front of him who came together and nailed the entire thing totally a cappella.

It was one of the most amazing things I’ve ever seen live. The only thing I could compare it to is Pearl Jam’s tendency to let their crowds take the first verse of “Better Man,” during their live sets but at least those audiences know what to expect after years and years of mining that trope. These folks nailed “Humble” — a song only a few months old — with deadly accuracy and without any kind of warning at all. Kendrick eventually rewarded their efforts by queuing up his unseen band and bringing it to life himself after we had finished our take.

For the last song of the night in the encore, Kendrick slipped into the penultimate track off DAMN , “GOD.” It was astonishing to watch this larger than life figure boast about his deity-like status in one breath, then ask us all not to judge him for it in the other. It’s one thing to be a great artist, but it requires a completely different set of skills to be a great performer. Not all of the supposedly “great artists” are able to make that leap. Through grit and guile, and maybe some diligent note-taking, Kendrick has firmly joined the pantheon of excellent in-person entertainers — there’s not a damn thing he needs to be humble about.

Kendrick Lamar For President pic.twitter.com/EmwsBTWydz — Corbin Reiff (@CorbinReiff) July 28, 2017

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Travis scott, alexander 'ae' edwards brawl in cannes with tyga close by, travis scott brawls with cher's bf in cannes.

12:55 PM PT -- We've now spoken to other witnesses at the party who claim Alexander "AE" Edwards was the instigator, as he ran up on stage and initiated physical contact with Travis Scott .

Travis Scott and Tyga 's camps are leaving their mark on Cannes, courtesy of an all out melee inside an after-party ... and from the looks of things, a few ice packs will be needed.

TMZ Hip Hop got video showing multiple angles of the altercation, which also involved Cher 's boyfriend Alexander "AE" Edwards and 808 Mafia producer Southside -- and it all went down at acclaimed promoter Richie Akiva 's event.

Sources familiar with the situation tell us the fight started after both Travis and Tyga were on stage behind the DJ booth ... and when Richie grabbed the mic he gave props to both rappers, saying something to the effect of, “We got T-Raww, AE and Travis in the building.”

We're told Travis seemed pissed he was being lumped in with Tyga -- possibly a Kylie Jenner exes thing -- so, Travis snatched the mic out of Ritchie’s hand, prompting AE to say something to Trav. For context, AE and Tyga are besties.

We're told Travis approached Tyga’s security with threats and stormed offstage ... only to return with Southside moments later.

That's when Southside and AE started going at each other ... at first just pushing, but then AE landed several uppercuts, before Travis pulled AE off Southside, and nearly fell offstage in the process.

Then AE and Travis started tussling across the stage. Of course, once news of the fight started spreading on social media ... many people described it as Travis Scott beating up Tyga.

Despite the madness, no one in either party was seriously hurt and security managed to break things up and Travis and Southside returned to their cars. Richie can also be heard scolding everyone for bringing violence to his party.

Our sources tell us Tyga, AE and the crew stayed until early in the morning as if nothing happened.

AE enjoyed a make-out session with Cher just hours prior on the amfAR Gala red carpet ... boy did he have a story to tell when he got back to the hotel!!!

Originally Published -- 9:51 AM PT

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T.I. Says Kendrick Lamar & Drake Should Go on Tour

T.I. appeared on DJ Whoo Kid's SiriusXM Whoo's House Podcast and naturally pulled out the thesaurus.

The Atlanta rap legend called the beef between Kendrick Lamar and Drake "probably one of the more exacerbated beefs" he's seen before suggesting the pair should do a tour together. "I got respect for both of them," he said. "I think they're both phenomenal hitmakers and I'm just waiting on the tour. That's the only thing. Listen, after the disagreement, the only thing that's gon' sell is the reunion."

While he isn't wrong, a tour featuring the two is probably not in the cards right now. If you recall, Drake famously brought Kendrick along during his Club Paradise Tour in 2012, something the OVO captain mentioned in his "Buried Alive Interlude" parody he posted on his Instagram.

Last week , T.I. stopped by Real 92.3 in L.A. to talk to Big Boy when he was asked about the beef. He admitted that it's good for the game in general, however, Tip felt the battle could be holding back other artists from dropping. "They done kinda f-ed it up for some other people who were planning to drop in this period. I think some people were like, ‘Damn, I was gon' drop, let me see this through.'"

T.I. isn't wrong. Taylor Swift found herself in the middle of the beef when Drake mentioned Lamar needed permission from Swift to drop a diss record on " Taylor Made Freestyle " and in turn K. Dot tapped Taylor's producer Jack Antonoff to help out on the diss track " 6:16 in LA ." Whoo Kid is slightly involved in this feud on Drake's side as he lent his legendary DJ drop to the Toronto rapper for his diss track "Push Ups." There were also rumors swirling about a Whoo Kid hosted disstape that never surfaced.

If you're wondering why outlets want to know T.I.'s thoughts on this particular rap battle, it's because the Grand Hustle boss has seen his fair share of rap ways, most notably when he pulled up to the late Shawty Lo's house back in 2008 for the " What Up, What's Haapnin ‘" video.

We won't hold our breath when it comes to the tour he suggested, though.

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Kendrick Lamar Beats Drake & Cardi B To 'Greatest Streaming Era Hip Hop Song' Crown

Kendrick Lamar has beaten out Drake , Cardi B and others to secure the crown for “greatest Hip Hop song of the streaming era.”

That’s according to Spotify , who published a list on Monday (May 20) of its 100 greatest rap songs of the streaming era, which is defined as the time period from 2015 until the present day.

K. Dot’s To Pimp a Butterfly protest anthem “Alright” came in at No. 1 on the ranking, while Cardi’s diamond-certified “Bodak Yellow” followed closely behind in second place.

Drake ‘s “God’s Plan,” Lil Uzi Vert ‘s “XO Tour Llif3” and Future ‘s “March Madness” rounded out the top five.

The remainder of the top 10 included Migos ‘ “Bad and Boujee,” Travis Scott ‘s “Sicko Mode,” Sheck Wes ‘ “Mo Bamba,” Pop Smoke ‘s “Dior” and Juice WRLD ‘s “Lucid Dreams.”

XXXTENTACION, Roddy Ricch, Kanye West, Kodak Black, Lil Baby and French Montana also appeared in the top 20.

Further down were inclusions from Fetty Wap, Meek Mill, 21 Savage, Polo G, Tyler, The Creator, Rae Sremmurd, Post Malone and many other big names.

Spotify took to Instagram to unveil the list and also ask followers for their favorite songs of the streaming era.

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May 17, 2024

The list was put together by Carl Chery, Spotify’s Creative Director and Head of Urban Music, and its Hip Hop editorial team to provide “a snapshot of Hip Hop during the streaming era.”

“The criteria for the list are based on quality, impact, replay value, influence, and cultural significance,” Spotify wrote.

“The program is driven by our editors’ music and cultural expertise — not by data — meaning that big streaming numbers were not a requirement to make the list.”

Check out the full top 20 below.

1. Kendrick Lamar — “Alright” 2. Cardi B — “Bodak Yellow” 3. Drake — “God’s Plan” 4. Lil Uzi Vert — “XO Tour Llif3” 5. Future — “March Madness” 6. Migos — “Bad and Boujee” (ft. Lil Uzi Vert) 7. Travis Scott v “Sicko Mode” (ft. Drake) 8. Sheck Wes — “Mo Bamba” 9. Pop Smoke — “Dior” 10. Juice WRLD — “Lucid Dreams” 11. XXXTENTACTION — “Jocelyn Flores” 12. Future — “Mask Off” 13. Travis Scott — “Goosebumps” (ft. Kendrick Lamar) 14. Roddy Ricch — “The Box” 15. Kanye West — “Father Stretch My Hands Pt. 1” (ft. Kid Cudi) 16. Kendrick Lamar — “HUMBLE.” 17. Kodak Black — “No Flockin” 18. Lil Baby — “We Paid” (ft. 42 Dugg) 19. French Montana — “Unforgettable” (ft. Swae Lee) 20. Cardi B — “WAP” (ft. Megan Thee Stallion)

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Kendrick Lamar’s “euphoria” Has Sold Over 1 Million Units in the U.S.

Kendrick Lamar continues to have a good few months in sales. His “Euphoria” disco track has officially sold one million units. According to ChartData, this is Lamar’s third song in 2024 to be platinum eligible, following “Like That” and “Not Like Us.”

Kendrick Lamar's "euphoria" has now sold over 1 million units in the US. pic.twitter.com/93TIGEwPTG — chart data (@chartdata) May 28, 2024

In recent news, Spotify has unveiled the 100 Greatest Hip-Hop Songs of the streaming era , from 2015 to the present, as part of its Spotify CLASSICS catalog program. Topping the list is Kendrick Lamar’s influential track “Alright.”

The newest iteration of Spotify CLASSICS, a celebration of catalog music chosen by Spotify’s North American editorial team, highlights major hits such as Drake’s “God’s Plan,” Future’s “Mask Off,” Kendrick Lamar’s “Humble,” and “WAP” by Cardi B and Megan Thee Stallion.

Spotify’s hip-hop editorial team undertook the ambitious task of reviewing thousands of songs to compile this definitive list. Unlike other rankings, Spotify CLASSICS is entirely qualitative, focusing on the quality, impact, replay value, influence, and cultural significance of each track. The list reflects the editors’ music and cultural expertise, rather than being driven by streaming data, meaning that massive streaming numbers were not a prerequisite for inclusion.

The full list is available below.

The 100 Greatest Hip-Hop Songs of the Streaming Era 

100. Coi Leray – “Players” (2022)

99. Fivio Foreign – “Big Drip” (2019)

98. Doechii – “Yucky Blucky Fruitcake” (2020)

97. YG ft. Nipsey Hussle – “FDT” (2016)

96. Sexyy Red – “SkeeYee” (2023)

95. Freddie Gibbs, Madlib – “Crime Pays” (2019)

94. Moneybagg Yo – “Time Today” (2021)

93. Lil Durk ft. Gunna – “What Happened to Virgil” (2022)

92. Flo Milli – “Never Lose Me” (2023)

91. Denzel Curry – “Ultimate” (2015)

90. A$AP Rocky – “Lord Pretty Flacko Jodye 2 (LPFJ2)” (2015)

89. Yo Gotti – “Down In the DM” (2016)

88. Doja Cat ft. Rico Nasty – “Tia Tamera” (2019)

87. Young Thug – “Check” (2015)

86. Nicki Minaj – “Chun-Li” (2018)

85. Mac Miller – “Self Care” (2018)

84. Saweetie – “My Type” (2019)

83. YoungBoy Never Broke Again – “Outside Today” (2018)

82. Megan Thee Stallion – “Big Ole Freak” (2018)

81. Ice Spice, Nicki Minaj – “Princess Diana” (2023)

80. MadeinTYO – “Uber Everywhere” (2016)

79. Playboi Carti ft. Lil Uzi Vert – “Shoota” (2018)

78. Lil Durk ft. J. Cole – “All My Life” (2023)

77. Tyler, The Creator ft. YoungBoy Never Broke Again & Ty Dolla $ign – “WUSYANAME” (2021)

76. Nipsey Hussle ft. YG – “Last Time That I Checc’d” (2018)

75. Lil Uzi Vert – “Money Longer” (2016)

74. Drake – “Know Yourself” (2015)

73. Central Cee – “Doja” (2022)

72. Trippie Redd ft. Travis Scott – “Dark Knight Dummo” (2017)

71. Latto ft. Cardi B – “Put It On Da Floor Again” (303)

70. Pooh Shiesty ft. Lil Durk – “Back in Blood” (2022)

69. Young M.A. – “OOOUUU” (2017)

68. Young Thug ft. Gunna – “Hot” (2019)

67. Jack Harlow – “WHATS POPPIN” (2020)

66. A Boogie Wit da Hoodie ft. Kodak Black – “Drowning” (2017)

65. Polo G, Lil Tjay ft. – “Pop Out” (2019)

64. Migos – “T-Shirt” (2017)

63. Future – “F*ck Up Some Commas” (2015)

62. A$AP Ferg – “Plain Jane” (2017)

61. Lil Baby, Gunna – “Drip Too Hard” (2018)

60. Drake, 21 Savage – “Jimmy Cooks” (2022)

59. Jay Rock, Kendrick Lamar, Future – “King’s Dead” (2018)

58. Tyler, The Creator ft. Kali Uchis – “See You Again” (2017) 

57. BlocBoy JB ft. Drake – “Look Alive” (2018)

56. JACKBOYS, Travis Scott, Young Thug – “OUT WEST” (2019)

55. Tee Grizzley – “First Day Out” (2017)

54. 21 Savage ft. Future – “X” (2016)

53. Travis Scott – “BUTTERFLY EFFECT” (2018)

52. Lil Mosey – “Blueberry Faygo (2020)

51. Internet Money ft. Don Toliver, Gunna, NAV – “Lemonade” (2020)

50. Lil Uzi Vert – “Just Wanna Rock” (2020)

49. DaBaby – “Suge” (2019)

48. Metro Boomin ft. Future & Chris Brown – “Superhero (Heroes & Villains)” (2022)

47. Hitkidd, GloRilla – “F.N.F. (Let’s Go)” (2022)

46. Gunna – “fukumean” (2023)

45. Future ft. Drake & Tems – “WAIT FOR U” *(2022)

44. Doja Cat – “Paint the Town Red” (2023)

43. Drake, Future – “Jumpman” (2015)

42. City Girls – “Act Up” (2018)

41. Travis Scott – “Antidote” (2015)

40. XXXtentacion – “Look At Me!” (2017)

39. Chance The Rapper ft. Lil Wayne & 2 Chainz – “No Problem” (2016)

38. Lil Baby – “Freestyle” (2017)

37. GoldLink ft. Shy Glizzy & Brent Faiyaz – “Crew” (2016)

36. Kodak Black ft. XXXtentacion – “Roll in Peace” (2017)

35. Baby Keem ft. Kendrick Lamar – “Family Ties” (2021)

34. Mustard ft. Roddy Ricch – “Ballin” (2019)

33. Playboi Carti – “Magnolia” (2017)

32. Offset, Metro Boomin – “Ric Flair Drip” (2017)

31. J. Cole – “MIDDLE CHILD” (2019)

30. Kanye West ft. Chance The Rapper, The-Dream, Kelly Price & Kirk Franklin – “Ultralight Beam” (2016)

29. Drake – “Back To Back” (2015)

28. Kendrick Lamar – “DNA.” (2017)

27. Post Malone ft. 21 Savage – “Rockstar” (2018)

26. Rae Sremmurd – “Black Beatles” (2016)

25. Tyler, The Creator – “EARFQUAKE” (2019)

24. Polo G – “RAPSTAR” (2020)

23. 21 Savage ft. J. Cole – “a lot” (2018)

22. Meek Mill ft. Drake – “Going Bad” (2019)

21. Fetty Wap – “Trap Queen” (2015)

20. Cardi B ft. Megan Thee Stallion – “WAP” (2020)

19. French Montana ft. Swae Lee – “Unforgettable” (2017)

18. Lil Baby ft. 42 Dugg – “We Paid” (2020)

17. Kodak Black – “No Flockin” (2015)

16. Kendrick Lamar – “HUMBLE” (2017)

15. Kanye West ft. Kid Cudi – “Father Stretch My Hands Pt.1” (2016)

14. Roddy Ricch – “The Box” (2019)

13. Travis Scott ft. Kendrick Lamar – “Goosebumps” (2016)

12. Future – “Mask Off” (2017)

11. XXXtentacion – “Jocelyn Flores” (2017)

10. Juice WRLD – “Lucid Dreams” (2018)

9. Pop Smoke – “Dior” (2019)

8. Sheck Wes – “Mo Bamba” (2017)

7. Travis Scott – “SICKO MODE” (2018)

6. Migos ft. Lil Uzi Vert – “Bad and Boujee” (2016)

5. Future – “March Madness” (2015)

4. Lil Uzi Vert – “XO Tour Llif3” (2017)

3. Drake – “God’s Plan” (2018)

2. Cardi B – “Bodak Yellow” (2017)

1. Kendrick Lamar – “Alright” (2015)

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Scott Disick Loses Significant Weight After Concerns for His Health on 'The Kardashians'

Kris jenner addresses scott disick's weight loss after previous 'struggles', 'station 19' cast tearfully says goodbye following series finale (exclusive), why bre tiesi would 'kill' the oppenheim brothers and more netflix stars | spilling the e-tea, 50 cent sued for throwing microphone at fan at 2023 concert, 'love is blind's chelsea and laura on netflix stars they'd kiss, marry or kill | spilling the e-tea, why jodie turner-smith regrets showing her daughter ‘the acolyte’ trailer (exclusive), adam rodriguez on jennifer lopez casting him in ‘if you had my love’ music video 25 years ago, 'buying beverly hills' alexia and sophia umansky create a reality show tagline, jennifer lopez cancels summer tour 'to focus on her family' (source), brad pitt and angelina jolie's daughter shiloh files to legally drop 'pitt' from last name, watch 'love is blind's lauren hamilton reenact jess' 'choke' speech to cameron | spilling the e-tea, will smith and jada pinkett smith pose together on red carpet for first time since separation news, robert de niro reacts to ‘de niro con’ at tribeca film festival (exclusive), watch 'selling sunset's chelsea lazkani grill 'love is blind's ad smith while 'spilling the e-tea', drew gordon, former nba player, dies at 33 in reported car accident, sofía vergara says she'll 'recycle' ex joe manganiello tattoo amid new romance with dr. justin saliman, why toni braxton wanted to go topless at 56 (exclusive), diddy’s ex yung miami makes comments about ‘evil’ people and fame amid his legal woes, 'rhonj's jackie goldschneider explains fall out with margaret josephs and teresa giudice friendship, 'rhodubai's chanel ayan on falling out with lesa milan and more season 2 surprises (exclusive), will smith reacts to jada pinkett and their kids' support at 'bad boys: ride or die' premiere, last season, khloé kardashian said that scott disick was the 'unhealthiest' she'd ever seen him..

Scott Disick is focusing on his health after concerns were expressed on the last season of The Kardashians . During Thursday's season 5 premiere of the reality TV family's Hulu show, Kris Jenner and Khloé Kardashian stopped by Scott's house where they immediately commented on the 40-year-old businessman's physique. 

"Wow, somebody's lost a lot of weight," Kris gushed to Scott, giving him a hug. "You look great!" 

In an aside interview, Kris shared that she had been concerned about Kourtney Kardashian 's ex in recent months. 

"Scott looks great, and I know that he's really struggled the last year or so," Kris noted. "And I felt like he was not in the best place and it made me really sad."

Khloé also praised her pal, opening his fridge and exclaiming, "Wow, you're really being healthy!"

It was a far cry from the October 2023 episode of The Kardashians , where Khloé shared concerns about Scott's weight gain in the wake of a car accident that had injured his back. 

"I think Scott needs a little pep talk because this is probably the unhealthiest I've seen him. He's barely mobile, and it's all from his back, so that wouldn't make anyone feel good," Khloé said at the time.

Scott injured his back as the result of an August 2022 car crash that left his Lamborghini flipped upside down. 

"I've gained a lot of weight here because of my back," Scott told Khloé, saying his back had gotten "worse over time" since the accident. 

Scott shares three kids with his ex, Kourtney -- Mason, 14, Penelope, 11, and Reign, 9. During Thursday's episode, Scott told Kris that he and Mason , who has chosen to remain off-camera in recent years, are closer than ever. 

As for Kourtney, she and her husband, Travis Barker , welcomed their son, Rocky , in November 2023. 

"Things with Kourtney and Scott are cordial. She is focused on her own life and just wants their kids to feel happy and loved," a source told ET of the exes last month. 

New episodes of The Kardashians stream Thursdays on Hulu.

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NEW YORK, NEW YORK - MARCH 29: Inductees Vivian Campbell , Joe Elliott and Phil Collen of Def Leppard perform at the 2019 Rock & Roll Hall Of Fame Induction Ceremony - Show at Barclays Center on March 29, 2019 in New York City. (Photo by Dimitrios Kambouris/Getty Images For The Rock and Roll Hall of Fame)

Def Leppard & Journey Set To Launch Massive 2024 Co-Headlining Stadium Tour For – Setlist & Ticket Info

In December 2023, Rock and Roll Hall of Fame inductees Def Leppard and Journey announced they would be joining forces for a colossal co-headlining stadium tour in the summer of 2024. The 23-city “Journey x Def Leppard Tour” kicks off on July 6, 2024, in St. Louis, Missouri and wraps up on September 8 in Denver, Colorado.

Along the way, the superstar lineup will perform at major stadiums in cities like Chicago, Nashville, Boston, Toronto, New York, Los Angeles and San Francisco, among others.

The two iconic 80s bands, who previously toured together in 2018, bring along fellow classic rock legends Cheap Trick, Heart and the Steve Miller Band for select dates.

Def Leppard, known for hits like “Pour Some Sugar on Me” and “Love Bites,” are fresh off a successful 2023 tour with fellow heavy metal icons Mötley Crüe. This time, they’ll take the stage alongside Journey, the powerhouse band behind the classic anthems “Don’t Stop Believin'” and “Faithfully.”

The Def Leppard tour announcement comes after the band’s 2022 album release, Diamond Star Halos , while Journey will be celebrating the one-year anniversary of their 2022 album Freedom and their 50th anniversary as a group.

In a press statement, Def Leppard frontman Joe Elliott expressed his excitement for the upcoming stadium tour, and said, “DEF LEPPARD and JOURNEY will be reuniting and hitting the road together for the Summer Stadium Tour with Steve Miller, Cheap Trick & Heart on select shows, which makes for an amazing night of music!”

>GET DEF LEPPARD & JOURNEY CONCERT TICKETS NOW!

See below the full list of tour dates:

July 6, 2024, St Louis, MO Busch Stadium with Cheap Trick July 10, 2024, Orlando, FL Camping World Stadium with Cheap Trick July 13, 2024, Atlanta, GA Truist Park with Steve Miller Band July 15, 2024, Chicago, IL Wrigley Field with Steve Miller Band July 18, 2024, Detroit, MI Comerica Park with Steve Miller Band July 20, 2024, Nashville, TN Nissan Stadium with Steve Miller Band July 23, 2024, Philadelphia, PA Citizens Bank Park with Steve Miller Band July 25, 2024, Hershey, PA Hersheypark Stadium with Steve Miller Band July 27, 2024, Pittsburgh, PA PNC Park with Steve Miller Band July 30, 2024, Cleveland, OH Progressive Field with Heart Aug. 2, 2024, Toronto, ON Rogers Centre with Heart Aug. 5, 2024, Boston, MA Fenway Park with Heart Aug. 7, 2024, Flushing, NY Citi Field with Steve Miller Band Aug. 12, 2024, Arlington, TX Globe Life Field with Steve Miller Band Aug. 14, 2024, Houston, TX Minute Maid Park with Steve Miller Band Aug. 16, 2024, San Antonio, TX Alamodome with Steve Miller Band Aug. 19, 2024, Minneapolis, MN Target Field with Steve Miller Band Aug. 23, 2024, Phoenix, AZ Chase Field with Steve Miller Band Aug. 25, 2024, Los Angeles, CA SoFi Stadium with Steve Miller Band Aug. 28, 2024, San Francisco, CAOracle Park with Steve Miller Band Aug. 30, 2024, San Diego, CA Petco Park with Steve Miller Band Sept. 4, 2024, Seattle, WA T-Mobile Park with Cheap Trick Sept. 8, 2024, Denver, CO Coors Field with Cheap Trick

DEF LEPPARD CONCERT SETLIST

• Take What You Want
• Let’s Get Rocked
• Foolin’
• Armageddon It
• This Guitar
• When Love and Hate Collide
• Bringin’ On the Heartbreak
• Pour Some Sugar on Me
• Rock of Ages

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A Love Letter to ‘Inside the NBA,’ Hip-Hop’s Favorite Sports Show  

TNT's beloved postgame show may end after next season.

By Angel Diaz

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We very well may be nearing the end of basketball’s most legendary studio show, Inside the NBA — and what a ride it’s been.

The 2024-2025 NBA season will likely be the last for hosts Ernie Johnson, Charles Barkley, Kenny Smith and Shaquille O’Neal together on TNT, with all signs pointing to NBC replacing Turner Sports as the league’s primary TV partner starting with the 2025-26 season. Barkley was on The Dan Patrick Show and revealed that “morale sucks, plain and simple,” when asked how the vibe was on the set.

Charles Barkley says morale sucks amid the uncertainty of "Inside the NBA" moving forward. And discusses the possibility of hiring the crew to his production company, continuing to do the show, and selling it. pic.twitter.com/gLoiKm7SM3 — Dan Patrick Show (@dpshow) May 23, 2024

This Is the Best Start to a Year We've Had in Pop This Decade (Essay)

Shaquille o’neal.

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"We're gonna miss you. We're done after tonight." – Charles Barkley "You ain't done yet. We gotta figure out something." – Luka Dončić "We got all next year too. And then who knows after that." – Ernie Johnson 🏀🎙️📺😂 pic.twitter.com/neHy0NpqI8 — Awful Announcing (@awfulannouncing) May 31, 2024

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To keep it a buck, to us basketball is just as much a part of hip-hop as rapping and graffiti. So, when we got a show starring an NYC basketball great like Smith and NBA and sneaker legend like Barkley, we had to tune in. And while shaky at first, Shaq’s addition at the start of the 2011-2012 season further ingratiated the crew to a generation that grew up buying his rap albums and signature Reeboks, watching his movies, and playing Shaq Fu on Sega Genesis. Inside the NBA is so hip-hop, its hosts were known to kick a few flows. Kenny Smith kicked a freestyle on BET’s Rap City back in 2001.

And Shaq was recently featured on a Rick Ross and Meek Mill song with Damian Lillard, and had arguably the best verse in the whole song.

I have to also acknowledge the show’s music selection. They’ve always seemed to be tapped into rap music, new and old. I remember hearing A Tribe Called Quest’s “Electric Relaxation” instrumental during breaks — and there’s this medley of rap songs Street Cred EJ knew off top. 

During these playoffs. The producers have been in their bag playing the hits. “Like That” and “Not Like Us” have been TNT favorites during the Kendrick and Drake beef. They also played the “No Vaseline” instrumental — an absolutely insane thing to hear during a national sports broadcast. And just last night they played Don Toliver’s “Attitude” featuring Cash Cobain and Uncle Charlie Wilson faintly in the background. It doesn’t get more tapped-in than that. 

A friend and I had a routine back in the early 2000s. We were fresh out of high school, and worked the same part-time job while taking classes at local colleges in North Jersey. After we got off work, we would cop some trees on the way home and link up later that night to watch the NBA on TNT. We did this every Thursday night during the NBA season. Sometimes we would catch both the 8 p.m. game and the 10:30 p.m. game — but we always made sure to watch Inside the NBA afterwards, even if it meant staying up until 1:00 or 2:00 in the morning. 

Now that I’m older, whenever I’m able to stay up to watch the best sports show on TV, I think about those days. Appointment television is a rarity in the age of streaming, and for 24 years, the guys over at Inside the NBA have made you regret falling asleep and missing not only their veteran basketball analysis and arguments with one another, but also all the jokes and shenanigans. “Elevator” Ernie Johnson deserves some love as well. He brings it all together by controlling the chaos while also letting Kenny, Chuck, and Shaq be themselves.

BREAKING: NBC has contacted John Tesh about reviving the iconic NBA on NBC theme song 'Roundball Rock' amid NBA rights dealnegotiations. "At the end of June, we're heading to Nashville, we've got a full orchestra on hold & we're going to re-record it." https://t.co/J2Tb1XxPY9 pic.twitter.com/F6YUXSRpk4 — Dan Le Batard Show with Stugotz (@LeBatardShow) May 21, 2024

Inside the NBA had one of the greatest runs in sports TV history these past 24 years. I’m looking forward to having one last NBA season with my guys. Now that I think about it, ending things at 25 just sounds right. 

Now I leave you with some Yo Momma jokes from the crew. 

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Lauryn Hill, Kendrick Lamar and Beyoncé Top Apple Music’s 100 Best Albums of All Time List

By Steven J. Horowitz

Steven J. Horowitz

Senior Music Writer

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After more than a week of counting down its 100 Best Albums of All Time , Apple Music has released its top 10 tally, with Ms. Lauryn Hill’s seminal 1998 debut “The Miseducation of Lauryn Hill” earning top honors .

Behind Ms. Hill’s iconic album sit Michael Jackson’s “Thriller,” the Beatles’ “Abbey Road,” Prince’s “Purple Rain,” Frank Ocean’s “Blonde,” Stevie Wonder’s “Songs in the Key of Life,” Kendrick Lamar’s “good kid, m.A.A.d city,” Amy Winehouse’s “Back to Black,” Nirvana’s “Nevermind” and Beyoncé’s “Lemonade,” which rounds out the top 10.

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The full list, which counted down in increments of 10 albums per day, featured an assortment of records spanning decades, from SZA’s “SOS” and Taylor Swift’s “1989 (Taylor’s Version)” to Bruce Springsteen’s “Born to Run” and Beach Boys’ “Pet Sounds.”

“Miseducation,” which tops the list, was a breakthrough for Ms. Hill, who became the first rap artist to win album of the year at the 1999 Grammy Awards. In a statement shared via Apple Music, she stated that her surroundings and influences deserve just as much credit as she does in receiving the honor.

Check out the top 10 of Apple Music’s 100 Best Albums below:

10. Lemonade – Beyoncé

9. Nevermind – Nirvana

8. Back to Black – Amy Winehouse

7. good kid, m.A.A.d city (Deluxe Version) – Kendrick Lamar

6. Songs in the Key of Life – Stevie Wonder

5. Blonde – Frank Ocean

4. Purple Rain – Prince & The Revolution

3. Abbey Road – The Beatles

2. Thriller – Michael Jackson

1. The Miseducation of Lauryn Hill – Lauryn Hill

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